Rebecca Yanovskaya uses ballpoint pen and gold leaf to craft mythological retellings and otherworldly narratives.The Toronto-based artist moves between personal gallery work and illustrations. Among her influences, she counts “decorative arts, neoclassical and Pre-Raphaelite arts, and theatrical costuming.”
Painter Pamela Wilson pushes her absorbing, eerie imagery with a mixture of oils and gold leaf, crafting shimmering images of isolated subjects. Wilson’s paintings stir in the often off-kilter expressions of her subjects and overall otherworldliness of the setting. Wilson is part of a new show at Australia’s beinArt Gallery. “Jamais Vu” pairs the artist’s work with Kit King and Oda, a husband and wife duo that collaborates on oil paintings.
There is a magical quality to Brad Kunkle’s paintings that is difficult to capture online and in print alone. The Brooklyn based painter combines oil painting with gold and silver leaf to create ethereal visions of women, often in a state of transcendence or as if they are on some spiritual quest. We first featured Brad Kunkle in Hi-Fructose Vol 25, who seeks to go beyond the limits of the ordinary human experience. Looking at his art requires a deepening of our perceptions, and to filmmaker Brennan Stasiewicz, it holds a humanizing power.
Italian artist Agostino Arrivabene uses antique painting techniques to create a foundation from which metamorphic figures emerge in moments of creation. The time-consuming labor of grinding pigments and layering paints is evident in the complex, heavily textural works. New worlds hide beneath and within cracks and crinkles as human-like figures manifest above ground and often out of water.
Sarah A. Smith has a particular set of drawings that merit notice for their expressive qualities. Her subject is the natural world. The compositions are dynamic and fluid, coiled in mid-strike. If you didn’t know they were drawings, you might think they were dioramas. Subject matter includes eagles and wolves, trees and shrubs. Sometimes there’s a drawing of an eagle, sometimes there’s one of a wolf. Sometimes the two are locked in combat though, as in Eagle Vs. Wolf, you can only see the wolf responding to the eagle overhead. The work is dynamic. The shapes are sharp and angular. They look like lightning bolts. If you could rub the head of the eagle or the wolf, you’d feel its coarse texture. Likewise with the bark of the trees: rub it and you’d get splinters. The scenes offer voyeuristic views of the natural world in its rawest element. It’s a perilous, zero sum world. Its narrow color palette suggests bleakness.